Shakira's 'She-Wolf' a weird, wildly fun album

Shakira's She Wolf video -- you know, "Ah-oooh!" -- is a pop-star peepshow, the gymnastic link between Beyoncé and Britney Spears.

But She-Wolf the album, online and in stores now, is a different animal altogether.

Shakira is still twisting lyrics to fit her nimble grooves, and every moment is bouncy and bright. But every song goes to completely unexpected places, veering from a perfectly commercial shine to avant-garde pop.

The Neptunes handle the bulk of production duties, and they seem completely reenergized. Things get downright weird at times -- and it makes every song a winner. This is Shakira's most compelling, consistently entertaining disc since 1998's Donde Estan Los Ladrones.

And, fear not longtime fans, the rumors of Shakira's vanishing Latina identity have been grossly exaggerated. If anything, She Wolf explores more world rhythms than any of her previous English-language discs. (The international release has already sold more than 1.5 million copies, and a new Spanish-language album is due spring 2010.)

The tracklisting -- just 10 original songs -- is as tight and lean as Shakira's abs. The U.S. edition includes three Spanish translations and two live recordings (almost indistinguishable from their studio counterparts.)

There are three versions of the title track, a quirky disco-trip -- violins and all -- about a "domseticated gir" unleashing her inner animal. Better, and less obvious, is Did It Again, whose shuffling groove gets a lift from buzzy Ohio rapper Kid Cudi.

Long Time's horns, whistles and booming underbeat play like Gloria Estefan if she were still in Miami Sound Machine, down to the tribal chants. Mon Amour finds Shakira adopting a riot-girl vocal above a wailing guitar. Current single Give It Up To Me is clearly aimed at radio, and Shakira's playful delivery sells it. ("Anything you want," she coos). She even references She Wolf, and Lil Wayne keeps his rhymes lighthearted and bouncy amid the Timbaland-produced groove.

Dig into the disc, though, and the quirk factor shoots skyhigh. Good Stuff works a mean xylophone, and Gypsy is a lovely detour from the dance floor. It's the type of folksy, unforced moment Madonna has often tried to capture during her live shows. (The song was co-written by Amanda Ghost, head of Shakira's label.)

Why Wait's Middle Eastern-inspired electronica boasts help from Hossam Ramzy, who worked on several Peter Gabriel albums and Led Zeppelin's Kashmir. Standout Men In This Town finds Shakira yearning for some lovin' atop a 2 a.m. dance-rock drone and sly Outkast references ("I'm so fresh and I'm so clean!") before lapsing into a falsetto. And the Wyclef Jean-assisted Spy soars on Shakira's irresistibly silly barrage of vocal wah-wahs.

This is criminally catchy stuff, but it's also consistently clever. By finally, and fully, unleashing her inner wildchild, Shakira has created some of the most weirdly wonderful pop of the past year.